Summer School 6: The Camera Never Lies
by Wild Pikachu
Summary: A crucial piece of evidence spells a quick end to Nicole's trial; and Mary Cherry's new-found activism takes its toll on Lily, who also suspects her marriage may be in trouble.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

* * *

**Guest Cast:**  
Alicia Jones: Renee O'Connor  
Devenport: Lawrence Pressman  
Judge Holmes: Jim Norton  
Dr. Bennett: Jennifer Connelly  
Dr. Rutherford: Jeffrey Jones  
Jake: Jeremy Davidson  
Guido: Larry Dobkin  
Porter: Andrew Robinson  
Lt. Spivey: Dennis Haysbert

* * *

**Formatting:** The main differences between the way the episodes are presented here and true script format are that on , everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are 1999-2001 Touchstone Television, et al. For what it's worth, original material is 2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

* * *

**POPULAR: SUMMER SCHOOL**

**THE CAMERA NEVER LIES (THE PEOPLE V. NICOLE JULIAN, PART III)**

**TEASER**

FADE IN:

EST. THE INSTITUTE - MORNING

CUT TO:

INT. THE LAB

Everything has been replaced, and the lab looks much like it  
did before. Josh is once again sitting at one of the  
terminals, pecking away, when Dr. Bennett comes in.

BENNETT  
Morning, Josh.

JOSH  
(turning)  
Oh—good morning, Dr. Bennett.

BENNETT  
Listen, I'm sorry about leaving  
you stranded this morning. I just  
didn't think you wanted to come in  
at six-thirty.

JOSH  
You don't have to apologize—it's  
not like I expect you to have to  
drive me around all the time.

BENNETT  
Okay.

A security guard pokes his head through the doors, makes a  
note of Josh and Dr. Bennett's presence, and jots on the  
clipboard he's carrying before disappearing again.

JOSH  
That's like the third time this  
morning.

BENNETT  
Oh—the security system isn't up  
yet. Whoever took the place apart  
smashed all the fuses, and there  
weren't enough spares on site.  
It'll be done today, though.

JOSH  
I hope so.  
(pause)  
Dr. Bennett...you don't think I  
had anything to the break-in, do  
you?

BENNETT  
No! Of course not! And, I  
apologize for Dr. Rutherford.  
I've never seen him act this way  
before. Believe me, we've had  
words over it.

JOSH  
I really wish you wouldn't make a  
big deal about it. I can handle  
it.

BENNETT  
(insistently)  
No, Josh—I am the number-two  
researcher at this facility, and  
if I see Dr. Rutherford doing  
something detrimental to the  
workplace, it is absolutely my  
place to call him on it.

JOSH  
Okay.  
(turning back to the keyboard)  
Man, I wish they hadn't decided to  
change all the programs. I was  
just getting used to this, and now  
I have to learn everything all  
over again.

BENNETT  
Ha. You think YOU have it bad?  
Try this.

She holds up a two-inch thick book.

JOSH  
What's that?

BENNETT  
The manual for the new DNA  
sequencer.

She walks over to a large piece of equipment and works a few  
switches and buttons on it.

BENNETT (CONT'D)  
It's not even the same company.  
It's gonna take a month to figure  
out how everything works on this.

JOSH  
(grinning)  
All right, I guess I should stop  
complaining.  
(pause)  
Uh, Dr. Bennett? Can I talk to  
you sometime? It's something...  
well, it's something personal.

BENNETT  
(browsing)  
Well, if I read this right, I  
have...six point seven minutes  
before this monster's finished its  
initialization sequence.

She turns and leans back against the machine, giving him her  
full attention.

BENNETT (CONT'D)  
So, what's up?

CUT TO:

INT. BROOKE'S HOSPITAL ROOM

Sam walks in, passing a doctor who is just leaving.

BROOKE  
Hey, Sam.

SAM  
(sitting down)  
Hey. So, did the doctor have  
anything interesting to say?

BROOKE  
He said, it looks like I'll start  
physical therapy in a couple of  
weeks.

SAM  
Brooke! That's great! Maybe  
you'll be out of here in time for  
school.

BROOKE  
Yeah, I thought so too. He said  
it was going to be a lot of hard  
work, though.

SAM  
Yeah, I remember when Harrison was  
going through that, it was pretty  
rough. Anything you need me for,  
just ask, okay?

Brooke picks up her crossword puzzle book.

BROOKE  
There IS something I've been stuck  
on...

SAM  
(shying away)  
Oh, no! Anything but THAT!

BROOKE  
(sighing dramatically)  
Oh, fine.  
(pause)  
Hey, where is Harrison, anyway?

SAM  
(thinks)  
Uh...I don't know.

BROOKE  
Isn't that weird?

SAM  
Just because we're together,  
doesn't mean we're joined at the  
hip, you know.

BROOKE  
I'm sorry. I'm interfering.

SAM  
The truth is, he wanted to be  
alone this morning.

BROOKE  
Because of the testifying thing?

SAM  
(nods)  
He was a basket case last night.

BROOKE  
I wish this whole thing were over.

SAM  
(sighs)  
That makes two of us.

WHITE OUT.

**END OF TEASER**


	2. Act One

**ACT ONE**

FADE IN:

INT. THE LAB - NOON

Josh and Rodriguez are in the lab; Josh is standing at one of  
the tables, straightening up some papers. Dr. Bennett comes  
in.

BENNETT  
(to Josh)  
Ready to go?

JOSH  
(looking around)  
Uh...yeah.

BENNETT  
(to Rodriguez)  
If Dr. Rutherford wants me, I'm  
helping Josh with something over  
lunch.

RODRIGUEZ  
You got it, Doc.

As she and Josh start to walk out, she stops and turns back.

BENNETT  
On second thought, if Dr.  
Rutherford wants me, tell him to  
stuff it until I get back.

With that, Josh and Dr. Bennett leave. A moment later, the  
phone on the wall rings. Rodriguez walks over and picks it  
up.

RODRIGUEZ  
(into the phone)  
Hello? Oh—I'm sorry, but you  
just missed him. He went to lunch  
with Dr. Bennett. Do you want to  
leave a message?

CUT TO:

EXT. THE CIVIC CENTER

As a group of protesters mills about, Sam and Harrison are  
handing out picket signs to the demonstrators and leaflets to  
passers-by.

ANGLE: LILY

Off to the side, cell phone in hand.

LILY  
Uh, no...no message. Thanks  
anyway.

She closes the phone and puts it away.

ANGLE: SAM AND HARRISON

SAM  
(aside to Harrison)  
Hey, are you okay?

HARRISON  
Who me? I'm...just terrific.

Lily comes walking up to them.

SAM  
That was short. How's Josh?

LILY  
He was at lunch. I'll catch him  
later.  
(to Harrison)  
How are you?

HARRISON  
You know, it's nice that  
everyone's so worried about me,  
but really, I'll be fine. I'm  
sorry about having to miss your  
rally, though.

LILY  
(smiling)  
Don't worry about it. Putting  
Nicole behind bars is as good a  
cause as I can think of.

HARRISON  
I just hope I don't do something  
to keep her out.

SAM  
Hey, the prosecutor said that  
wasn't gonna happen, right? So,  
we're fine.

HARRISON  
That's what I said.

Sam sounds like she's trying to convince both of them.

SAM  
Right.

Their attention is attracted by a honking horn, and they look  
up to see a stretch limo pull up to the curb. The driver gets  
out, rushes around to the back door, and opens it; whereupon  
Mary Cherry steps out, looking around.

MARY CHERRY  
Yoo hoo! Lil Lily!

SAM  
I don't believe it. She actually  
showed.

Lily swats Sam on the arm and waves.

LILY  
Over here!

Mary Cherry comes trotting over.

MARY CHERRY  
Am I too late?

LILY  
You're just in time. We're  
starting in a few minutes.

MARY CHERRY  
(looking around)  
All of these people are here just  
to carry signs and walk around?

LILY  
It's more than just walking  
around, Mary Cherry. These people  
are taking a stand for something  
they really believe in.  
(pause)  
So, ready to get to work?

MARY CHERRY  
You know, I was thinkin', what  
could I, a humble neophyte at this  
whole protestin' thing, most do to  
help? Then I thought, well,  
dummy, it's lunchtime, of course.  
(pointing)  
So I brought lunch.

They all follow Mary Cherry's pointing finger to an open spot  
nearby, where two catering trucks have pulled up, and a bunch  
of people are busily setting up a half-dozen food-laden  
tables.

HARRISON  
(appraisingly)  
Nice spread.

MARY CHERRY  
(pleased)  
Why, thank you, Joe.

SAM  
All right, the food is nice, but  
let's not forget that we have a  
message to get out?

Mary Cherry makes a pooh-poohing motion.

MARY CHERRY  
Oh, I thought of that, too.

LILY  
(cautiously)  
You did?

MARY CHERRY  
I sure did! You told me that  
attractin' attention was the most  
important thing, and if there's  
one thing we Cherrys are good at—  
besides looking glamorous, making  
hordes of moolah, and marryin' the  
most eligible bachelors—it's  
gettin' the attention we deserve.  
And sure enough, I came up with  
the most sure-fire way to get  
everyone's attention.

She points skyward, and the rest of them look up. High above  
them, a small plane is circling, trailing a huge banner which  
reads: "ENERGY PRICES SUCK". Lily, Sam and Harrison all  
stare, open-mouthed.

MARY CHERRY (CONT'D)  
(anxiously)  
Well?

LILY  
Mary Cherry... I love it!

Mary Cherry jumps up and down, clapping.

MARY CHERRY  
You do?

HARRISON  
(doubtfully)  
You do?

LILY  
It's PERFECT!

SAM  
(even more doubtfully)  
It is?

Lily elbows Sam, pointing up.

LILY  
THAT will make the news.

Mary Cherry's attention has been captured by something else,  
though.

MARY CHERRY  
Do my eyes deceive me, or are  
those television cameras over  
there?

Lily looks; sure enough, a couple of local stations are  
setting up their equipment on the plaza.

LILY  
Well, of course, Mary Cherry. The  
whole point of scheduling the  
rally at noon is so TV stations  
can cover it live.

Mary Cherry puts her hand to her heart.

MARY CHERRY  
Why, Lil Lily...all this time I  
only thought of you as a tree  
huggin', bean-spout eatin' do-  
gooder...to find out that you,  
too, are versed in the art of  
publicity-mongering... I have  
sadly underestimated you.

Before Lily can figure out whether to be insulted or  
complimented, a thought strikes Mary Cherry, and her eyes  
widen in panic.

MARY CHERRY (CONT'D)  
Oh my Gawd—I'm going to be on  
TELEVISION?

Her hands fly to her head.

MARY CHERRY (CONT'D)  
My face! MY HAIR!

Shrieking, she runs back to the limo and jumps in. A few  
moments later, curious, the gang wanders over and peers in the  
open door. Inside, a couple of assistants have turned the  
back into an impromptu dressing room; one is expertly applying  
makeup to Mary Cherry's face, while the other works on her  
hair. From the other seat, an artiste type supervises.

MARY CHERRY (CONT'D)  
Shame on you, Lily! You never  
told me there would be cameras.  
(pause)  
Well, don't just stand there like  
a piece of roadkill—get in here!  
You can't go on TV looking like  
that!

LILY  
Mary Cherry, I really don't—

MARY CHERRY  
Oh, hush, and get in!

Mary Cherry reaches out, grabs Lily by the arm, and drags her  
into the limo.

MARY CHERRY (CONT'D)  
(to the artiste type)  
Pierre, this is Lil Lily. She's a  
very good friend of mine, and you  
HAVE to make her not look hideous  
in five minutes.

Pierre reaches out and examines Lily's face before she can  
stop him.

PIERRE  
Well, I can't promise miracles...  
but I think we can do something.

He holds out his hand, snapping his fingers, and has a kit  
placed on it. He selects a brush and begins to apply makeup  
to Lily's cheeks, while she makes a few sputtering noises of  
protest.

CUT TO:

INT. A STORE - LATER

A narrow, mom-and-pop general store kind of place, warmly lit,  
walls stacked to the ceiling with all sorts of things, in no  
particular order. A bell attached to the front door rings as  
it opens and Dr. Bennett and Josh walk in. As Josh looks  
around, a large, stocky, 60-ish man emerges from the back  
room. He spreads his arms when he sees them.

GUIDO  
Ahh! Tina Bennettori! My little  
farfalla!

JOSH  
(aside to Dr. Bennett)  
Bennettori?

BENNETT  
The old family name. When my  
grandparents came to America, they  
decided they didn't want a name  
that sounded like a pasta dish.

JOSH  
Oh.

BENNETT  
Uncle Guido, my friend Josh here  
needs to see some wedding rings.

Guido looks back and forth between them.

GUIDO  
Perhaps the two of you...?

BENNETT  
(patiently)  
No, Uncle Guido, Josh is already  
married, to someone else. A high  
school classmate, back in L.A.

GUIDO  
Ah, young love...so romantic.

JOSH  
Yeah, young love, small bank  
account.

BENNETT  
I thought maybe you could help  
Josh find something nice, that he  
can afford.

GUIDO  
Of course, of course...

Guido disappears into the back room.

BENNETT  
Uncle Guido's an old family  
friend. He and my grandfather had  
a restaurant in Little Italy up in  
San Francisco about thirty years  
ago. Then he semi-retired and  
opened up this place. This is  
where my wedding ring came from.

JOSH  
Your ring?

BENNETT  
Oh—it didn't work out. But the  
ring was nice.

Guido comes out carrying a few jewelry cases, which he sets  
down on a nearby counter. He points at Dr. Bennett and then  
sets his hand waist-high.

GUIDO  
I knew this one when she was this  
tall.

BENNETT  
That was about the time my mother  
banned him from our house for  
life.

GUIDO  
(waving her off)  
Ah, a simple misunderstanding.  
So, young man—a diamond for your  
lady, perhaps? Even a small  
diamond can be dazzling in the  
right setting.

JOSH  
(shaking his head)  
Lily wouldn't want a diamond.  
(aside to Dr. Bennett)  
Working conditions in South  
African mines.

BENNETT  
Ah.

GUIDO  
Perhaps a sapphire then? Very  
nice stones, the most brilliant  
blue.

He picks a ring out of the topmost case and shows it to Josh,  
who takes it gingerly.

JOSH  
Hey, that IS nice. You know, I  
think she'd like something like  
this.

GUIDO  
Very good. And for you, very  
cheap. Three ninety-nine—

Dr. Bennett clears her throat loudly.

GUIDO (CONT'D)  
—Two ninety-nine, very little  
markup.

She eyes him severely.

GUIDO (CONT'D)  
What am I saying? You must  
forgive an old man. Two-fifty.  
Practically my cost. And for the  
gentleman...

He reaches down and pulls up another ring.

GUIDO (CONT'D)  
The traditional gold band.  
(eyeing Dr. Bennett)  
For you, no charge.

JOSH  
Wow, thanks.

GUIDO  
Now, let me see your finger...

Guido takes Josh's ring finger and wraps a strip of paper  
around it, marking off a measurement.

GUIDO (CONT'D)  
Very good... And now, if you  
could tell me the lady's size?

Josh suddenly seems at a loss.

JOSH  
Uh...I don't know.

BENNETT  
Josh?

JOSH  
Well, Lily's not really into  
jewelry. But I can find out.  
(to Guido)  
Can I call you with it later  
today?

GUIDO  
Of course, of course. It does  
this old man's heart good, to see  
such youthful passion.

Dr. Bennett leans over and kisses Guido on the cheek.

BENNETT  
Thank you, Uncle Guido.

GUIDO  
Ah, anything for you, farfalla.  
Perhaps a kind word to your mama,  
yes?

CUT TO:

EXT. THE CIVIC CENTER - LATER

The protest is in full swing, with people marching around,  
waving their signs. The TV cameras, however, are focused on  
something else: namely, Mary Cherry, who is putting on a  
bravura performance.

MARY CHERRY  
...yes, I, Mary Cherry, daughter  
of Cherry Cherry, head of Cherry  
Cherry Enterprises, have decided  
to devote my time to this worthy  
cause...

ANGLE: LILY, SAM AND HARRISON

watching the scene.

LILY  
At least we're getting coverage.

SAM  
SHE'S getting coverage. Let's  
hope she mentions what we're  
demonstrating for.

Mike comes up behind them.

LILY  
Mr. McQueen! What are you doing  
here?

MIKE  
Harrison's mom got held up, so I'm  
pretty much a glorified taxi  
service now.  
(to Harrison)  
You ready?

HARRISON  
Oh...sure. Thanks.

SAM  
You mind dropping me at the  
hospital on your way?

MIKE  
That's not a problem.

SAM  
(to Lily)  
You don't mind me cutting out  
early, do you?

LILY  
Naw, go on. I got it covered.

A loud screeching noise in the distance makes them all turn.

MIKE  
What the...?

A huge pink limo comes roaring down the street, screeching to  
a halt in front of them. The door opens, and Cherry Cherry  
climbs out. She storms over to the conglomeration of cameras.

CHERRY CHERRY  
HOLD IT RIGHT THERE!

MARY CHERRY  
M-Mama? What are you doing here?

CHERRY CHERRY  
The question is, what in tarnation  
are YOU doing?

MARY CHERRY  
Why, I'm, I'm—

CHERRY CHERRY  
You're makin' a complete ass of  
yourself, that's what you're  
doin'! Now get in the car—we're  
going home!  
(to the cameramen)  
Turn them danged things off!  
There's nothin' to see here!

Without waiting for a response, Cherry Cherry turns and starts  
stomping back towards the limo; but Lily runs over to  
intercept her.

LILY  
Now, hold on, Mrs. Cherry. You  
should be proud of your daughter—  
she's doing something for a worthy  
cause.

CHERRY CHERRY  
Worthy cause? Hell, Cherrys don't  
care about worthy causes, unless  
of course they're tax-deductable!

Cherry Cherry looks back to see that Mary Cherry hasn't moved.

CHERRY CHERRY (CONT'D)  
What are you doin', standin' there  
like one of them wax statues? I  
said, get in the car!

Mary Cherry looks around, fidgeting.

MARY CHERRY  
(blurting)  
No!

Cherry Cherry turns and fixes an icy glare at Mary Cherry.

CHERRY CHERRY  
WHAT did you say?

MARY CHERRY  
I—I—I said no! I'm not going.  
I'm—I'm—TAKING A STAND!

For a long moment Cherry Cherry just stands there, looking  
like she's going to explode.

CHERRY CHERRY  
(hissing)  
Well, you can take your stand  
right out the door, little missy.

MARY CHERRY  
(quails)  
Mama?

CHERRY CHERRY  
You heard me—I'm throwin' you out  
of the house! Also, I'm  
cancellin' your credit cards and  
freezin' your bank accounts! As  
of this moment, YOU ARE NO LONGER  
A CHERRY!

Cherry Cherry turns and stalks off, leaving a shocked crowd in  
her wake.

FADE OUT.

**END OF ACT ONE**


	3. Act Two

**ACT TWO**

FADE IN:

INT. MIKE'S CAR - MOVING

Sam and Harrison are in back; Mike checks his rear-view  
mirror, and notices Harrison looking distinctly queasy.

MIKE  
(to Harrison)  
You okay?

HARRISON  
Everyone keeps asking me that.

SAM  
You look terrible.

HARRISON  
Well, gee, thanks, Sam. I'm glad  
I can always count on your brutal  
honesty.

SAM  
(laughing)  
You'll do fine. Just remember the  
fate of the world rests on your  
shoulders.

HARRISON  
(ironically)  
Okay, you're really making me feel  
better here.

SAM  
Harrison, relax! It's a done  
deal—Nicole is going to prison  
for a long, long time; this is  
just a last-gasp attempt to buy  
some sympathy with the jury, and  
it's not gonna work.

HARRISON  
You're sure it's not gonna work.

SAM  
Come on—Nicole can put a up a  
good-girl act for, like, maybe ten  
minutes. Then everyone sees  
through her.

HARRISON  
I hope so. I'd hate to think of  
helping her stay out of jail.

SAM  
NOBODY can help her stay out of  
jail, Harrison. Trust me.

CUT TO:

EXT. THE HOSPITAL PARKING LOT - CONTINUOUS

as Mike's car pulls up outside the entrance.

CUT TO:

INT. MIKE'S CAR

SAM  
Okay. Harrison, everything is  
going to be fine. Really.

She leans over and kisses him, then opens the door and climbs  
out.

CUT TO:

EXT. THE HOSPITAL PARKING LOT - CONTINUOUS

Sam waves to Mike as the car pulls away.

CUT TO:

INT. BROOKE'S HOSPITAL ROOM - MOMENTS LATER

Brooke is sitting up in bed when Sam walks in.

SAM  
Hi.

BROOKE  
Hey—I think I saw you on TV.

SAM  
(rolls her eyes)  
Please tell me you're kidding.  
They didn't really show all that,  
did they?

BROOKE  
Yeah, they did.  
(sighs)  
Poor Mary Cherry.

SAM  
Honestly, sometimes I really feel  
sorry for her. Having a mother  
like that.

BROOKE  
(reaching)  
Well...Lily looked good, anyway.

Sam throws her a strange look but doesn't bother to say  
anything.

BROOKE (CONT'D)  
So what happened to Mary Cherry?

SAM  
Oh... Well, since she didn't  
have any money for a hotel, Lily  
was gonna take her home with her.

BROOKE  
Really? What's with that?

SAM  
Don't ask me—I have no idea  
what's going on there.

There is a moment of not-quite-awkward silence.

BROOKE  
How was Harrison?

SAM  
A little high-strung. He's so  
worried that he's going to help  
Nicole's cause somehow. Believe  
me, he couldn't do any worse than  
I did.

BROOKE  
(to herself)  
Maybe I should've told him what  
she said...

SAM  
Hmm? Nicole said something about  
Harrison? What?

BROOKE  
Oh—nevermind. It's just too  
vicious. Just...she deserves  
whatever she gets.

The phone rings, and Sam picks it up and hands it to Brooke.

BROOKE (CONT'D)  
(into the phone)  
Hello?

INTERCUT WITH:

INT. THE LAB

JOSH  
Hey, Brooke.

BROOKE  
(grinning)  
Josh! How come I don't hear from  
you lately?

JOSH  
I'm sorry. Usually by the time I  
finish talking to Lily, it's too  
late to call you. But she tells  
me everything.

BROOKE  
Well, I'm glad you have your  
priorities straight. How are you  
doing up there?

JOSH  
You know, it's better than I  
thought it would be. I mean, it's  
not too hard, but I really seem to  
know what I'm doing most of the  
time.

BROOKE  
See? I knew you could do it. You  
just had to relax a little.

JOSH  
Yeah... Uh, hey, Brooke?

BROOKE  
Hmm?

JOSH  
Is Sam there? I tried her cell,  
but it was turned off.

BROOKE  
Oh! Yeah, she's right here.

She hands the phone over to Sam.

SAM  
Josh?

JOSH  
Hey, Sam? I, uh, kinda need a  
favor—but, I need for Lily not to  
find out about it.

SAM  
(severely)  
Josh, you promised—no more  
secrets!

JOSH  
Oh, no, it's a good secret! I'm  
getting Lily a ring. 'Cause, you  
know, we couldn't afford one when  
we got married.

SAM  
Josh! That's so thoughtful!

JOSH  
Yeah, the only thing is, I don't  
know her ring size. And, you  
know, I can't exactly just ask  
her.

SAM  
Gotcha. I'll find out. Don't  
worry—she won't suspect a thing.

JOSH  
Thanks, Sam.

SAM  
No problem—I need to go over  
there and check on her anyway,  
make sure Mary Cherry isn't  
driving her crazy.

JOSH  
(puzzled)  
Huh? What about Mary Cherry?

SAM  
Ah...nothing. I'm sure  
everything'll be back to normal  
before you get home.

CUT TO:

INT. JOSH AND LILY'S LIVING ROOM

The front door opens and Lily and Mary Cherry walk in.

MARY CHERRY  
...I mean, I can't believe she did  
that!

LILY  
Mary Cherry, chill out. It's just  
a phase, right? She'll calm down,  
and everything'll go back to  
normal.

MARY CHERRY  
But she's never disowned me  
before!

LILY  
(wearily)  
Somehow I find that hard to  
believe.

Meanwhile, Mary Cherry is looking around critically.

MARY CHERRY  
Lil Lily, how can you stand to  
live like this?

LILY  
(confused)  
Like what?

MARY CHERRY  
Like...like THIS! What this place  
needs is the Cherry touch.

LILY  
Now, hang on, Mary Cherry...

But Mary Cherry already has her cell phone out.

MARY CHERRY  
Oh, it's the least I can do!  
Don't you worry about a thing!

CUT TO:

EST. THE COURTHOUSE - LATER

CUT TO:

INT. COURTROOM

Harrison is sitting on the witness stand.

DEVENPORT  
Mr. John, you have leukemia, is  
that correct?

HARRISON  
Yes. I'm in remission now.

DEVENPORT  
And when were you first diagnosed?

HARRISON  
Last October.

DEVENPORT  
And you spent several weeks in the  
hospital at that time, is that  
right?

HARRISON  
Yes.

DEVENPORT  
In fact, there was a time when  
your prognosis wasn't very good at  
all.

HARRISON  
Yes, the standard treatments  
weren't working.

DEVENPORT  
I see. So what caused your  
disease to go into remission?

HARRISON  
I...had a bone marrow transplant.

DEVENPORT  
Do you believe that this  
transplant saved your life?

JONES  
(rising)  
Objection—the witness isn't  
qualified to render a medical  
judgment.

DEVENPORT  
You Honor, I think Mr. John is  
familiar enough with his own  
condition to be able to answer a  
general question.

JUDGE HOLMES  
Overruled.  
(to Harrison)  
Answer the question, Mr. John.

HARRISON  
I...yeah. Yes.

DEVENPORT  
(nodding)  
And who was the donor in this  
procedure?

HARRISON  
(hesitating)  
Nicole Julian.

DEVENPORT  
Ah... So, Nicole Julian gave her  
bone marrow to you in an operation  
which saved your life?

HARRISON  
(reluctantly)  
Yes.

Devenport pauses to let the jury mull that over, strolling  
back to his table.

DEVENPORT  
Let me turn to something else now.  
Do you recall an e-mail you sent  
to Nicole earlier this year?

HARRISON  
I didn't mean to send that. It  
was a mistake.

DEVENPORT  
So you do recall it?

HARRISON  
(uncomfortably)  
Yes.

DEVENPORT  
And do you recall what you wrote?

HARRISON  
Not...exactly.

DEVENPORT  
(picking up a piece of paper)  
Well then, let me refresh your  
memory.  
(to Judge Holmes)  
Your Honor, I'd like this marked  
as Defense Exhibit five.

JUDGE HOLMES  
So ordered.

Devenport carries the paper over and sets it down in front of  
Harrison.

DEVENPORT  
Would you read the highlighted  
portion, please, Mr. John?

HARRISON  
(reading haltingly)  
You are the biggest bitch I have  
ever known... You are the  
splinter in a finger that won't  
come out... The pus in a pimple  
on an otherwise perfect  
complexion... If you have  
children...

DEVENPORT  
Go on, Mr. John.

HARRISON  
If you have children...I fear for  
their lives...for they will no  
doubt turn out to be corrupt,  
hideous monsters...just like you.

DEVENPORT  
Now, Mr. John—is that, in fact,  
what you wrote?

HARRISON  
Yeah, but I wrote that before the  
transplant.

DEVENPORT  
Ah, so this letter represents your  
feelings towards Nicole BEFORE she  
saved your life?

HARRISON  
Yeah...yes.

DEVENPORT  
(raising an eyebrow)  
Still, she must have been rather  
upset to receive something like  
that.

HARRISON  
Yeah, she was pretty pissed.

DEVENPORT  
And what was her reaction,  
exactly?

HARRISON  
She said that would tell the whole  
school about the letter and that I  
wrote it.

DEVENPORT  
I see... Well, it's been some  
time since I attended high school,  
but it seems to me that that might  
be quite an embarrassment. Fairly  
damaging to your reputation?

HARRISON  
Yeah, definitely.

DEVENPORT  
So, was it? Damaging to your  
reputation?

HARRISON  
I...she...she didn't do it.

DEVENPORT  
She didn't tell anyone about the  
letter?

HARRISON  
No, she read the letter, she  
just...didn't tell anyone who  
wrote it.

DEVENPORT  
I see.

Devenport takes a wide swing across the front of the jury box.

DEVENPORT (CONT'D)  
So, Mr. John, during the past few  
months, Nicole Julian's actions  
towards you include saving your  
life, and shielding you from  
public humiliation at her own  
expense?

HARRISON  
Uh...yes.

DEVENPORT  
(nodding)  
Nothing further.  
(to Jones)  
Your witness.

Devenport sits down. Judge Holmes looks at Jones expectantly.

JUDGE HOLMES  
Ms. Jones?

Jones, who has been playing with her pen, looks up and opens  
her mouth as if to say something, then closes it and shakes  
her head.

JONES  
No questions, Your Honor.

JUDGE HOLMES  
Very well.  
(to Harrison)  
You may step down, Mr. John.

As Harrison steps out of the witness box and stiffly walks  
back to the gallery, studiously avoiding Nicole's smug grin,  
the judge checks his notes.

JUDGE HOLMES (CONT'D)  
We'll take our afternoon break  
here.  
(bangs his gavel)  
Court is recessed for twenty  
minutes!

As the judge leaves, everyone stands and begins to mill about.  
Harrison doesn't bother to stop at the gallery, but walks  
straight out the courtroom doors. A few moments later Emory,  
again wearing the floppy hat and sunglasses, makes his way  
across the back row of seats and hurriedly heads out after  
him.

FADE OUT.

**END OF ACT TWO**


	4. Act Three

**ACT THREE**

FADE IN:

INT. JOSH AND LILY'S LIVING ROOM

There is a knock at the front door; after a few moments, it  
opens, and Sam walks in.

SAM  
Lily? I thought you were—

She stops dead in her tracks, staring open-mouthed at the  
inside of the apartment—which now looks more like a resort.  
Beach furniture, complete with umbrellas, lies around; a  
tanning bed sits along one wall; and, in the middle of the  
living room, Mary Cherry lies stretched out on a massage  
table, getting rubbed down by a muscular masseuse.

MARY CHERRY  
(looking up)  
Well, hey, Sammy!

SAM  
Mary Cherry? Wha—how—where's  
Lily?

MARY CHERRY  
(waving)  
Oh, she's in the kitchen fixing  
drinks. C'mon in and sit down—  
you look tense. Sven can work out  
your kinks for you.

SAM  
(dumbly)  
Sven?

MARY CHERRY  
Why don'tcha put on a suit and  
take a dip in the spa while you're  
waiting?

SAM  
SPA?

Lily emerges from the kitchen, wearing a sarong and carrying a  
tray with two tall glasses.

LILY  
Mary Cherry, I'm not sure these  
pia coladas came out right—

She stops short when she sees Sam.

LILY (CONT'D)  
(cheerily)  
Oh, hey, Sam!

SAM  
(thoroughly confused)  
Uh...

Lily takes the tray over to Mary Cherry, who picks up one of  
the glasses and takes a sip.

MARY CHERRY  
(critically)  
It's just a tad heavy.

LILY  
(nodding)  
That's what I thought.

MARY CHERRY  
The pineapple? Needs a light  
touch. You'll get it—all it  
takes is practice. And just a  
smidgen of cinnamon. That's the  
Cherry secret.

LILY  
Cinnamon?

Mary Cherry nods knowingly. Meanwhile, Sam, who has been  
watching this exchange in utter disbelief, runs her hands  
through her hair anxiously.

SAM  
(aggrieved)  
All right, Lily, enough with the  
body snatchers, WHAT IS GOING ON  
HERE?

LILY  
I don't know what you're talking  
about, Sam. All right, I admit, I  
was a little overwhelmed at first.  
But, this is kinda cool.

SAM  
This...it's just...so...not you!

LILY  
Sam, I'm a red-blooded teenage  
American female. Just because I'm  
a committed activist doesn't mean  
I don't deserve to kick it once in  
a while.

Mary Cherry, finished with her massage, sits up and hops off  
the table.

MARY CHERRY  
Well, I'm off to the spa.  
(to Sam)  
Are you sure you don't want a  
massage?

SAM  
(holding up her hands emphatically)  
No! Thank you!

MARY CHERRY  
(shrugs)  
Suit yourself.

With that, Mary Cherry disappears through the kitchen. Sam  
grabs Lily's arm.

SAM  
Seriously, did she drug you?

LILY  
(laughing)  
Sam, I'm not "going Mary Cherry"  
if that's what you're worried  
about. I'm just...taking a break,  
that's all.

SAM  
(rubbing her eyes)  
I'm sorry. I'm being judgmental.  
It's just—I wasn't expecting it.  
I'll deal, I promise.

LILY  
Hey, it's just a little vacation.  
(conspiratorially)  
And, you know, it's actually fun  
having a taste of Mary Cherry's  
lifestyle—for a little while.

Sam smiles in spite of herself.

SAM  
Well, just don't get hooked on it.  
I have a feeling that once she and  
her mother are patched up, she's  
going to forget all about this  
buddy-buddy thing.

LILY  
Oh, I don't know. I kinda think  
I'm starting to get through to  
her.

SAM  
Yeah, just as long as you get  
through to her faster than SHE  
gets through to YOU.

LILY  
Sam...

SAM  
Sorry, sorry.  
(pause)  
Hey, do you have the phone contact  
list from today?

LILY  
Ah...sure, I'll get it. See? I'm  
not a bubble-headed blonde yet.

After Lily goes into the other room, Sam picks her way over to  
a dresser sitting in the corner. Rummaging through the  
drawers, she pulls out a small jewelry box, opens it, and  
pockets a simple ring from it. Returning the box to the  
dresser, she hurriedly makes her way back to her original spot  
before Lily re-emerges. She hands Sam a bunch of papers.

LILY (CONT'D)  
Anything I can do?

SAM  
(shaking her head)  
Just a couple of follow-ups.  
Don't worry about it—you just  
enjoy yourself. I guess...you  
really do deserve it, after all  
the work you've done lately.

LILY  
Thanks. And thanks for, you know,  
not totally freaking out.

SAM  
I'm pretty sure that's what that  
was.

LILY  
Well, okay, for not staying  
freaked out, then.

Sam takes another dubious look around the room.

SAM  
Right. Okay, I'm outta here.

Lily walks Sam to the door.

SAM (CONT'D)  
Look, just...be careful.

LILY  
(laughing)  
Sam!

SAM  
(sighs)  
Don't pay any attention to me.  
This is just...a little weird.

LILY  
(reassuringly)  
I will be fine. I will have fun.  
I will NOT turn into Mary Cherry.

Sam walks out, and Lily closes the door behind her. She looks  
around, makes a satisfied sound, and bounces off towards the  
kitchen.

CUT TO:

INT. COURTHOUSE HALLWAY

Harrison is walking briskly away when Emory comes running up  
behind him.

EMORY  
Captain! Captain, a moment, if  
you would!

HARRISON  
(turning)  
Emory? What are you doing here?

EMORY  
I have been following the  
proceedings with great interest,  
hoping to joyously celebrate that  
glorious day when the hellspawn  
Julian is forever cast in the pit  
of fire and brimstone.

HARRISON  
(sourly)  
Well, that's starting to look like  
it might not happen.

EMORY  
Which is precisely why I must  
speak with you.

HARRISON  
Emory, I'm really not in the  
mood...

EMORY  
Please, I require your advice on a  
matter of the greatest urgency.

HARRISON  
(sighs)  
All right, what is it?

EMORY  
Hypothetically speaking... If a  
certain person had...certain  
information...about a certain  
matter...

HARRISON  
You've totally lost me.

EMORY  
I mean...if a person had  
certain...evidence...pertaining to  
a certain legal situation...

Harrison studies Emory with a dawning suspicion.

HARRISON  
Emory...do you know something  
about this?

EMORY  
Hypothetically...if, say, a  
certain someone were out, for a  
romantic evening with his  
paramour, and he were, say, to be  
carrying a camcorder, to record  
certain activities...and this  
person happened to be present at a  
certain place...

Harrison grabs Emory by the shoulders, wide-eyed.

HARRISON  
Emory—are you trying to tell me  
that you have Nicole hitting  
Brooke ON TAPE?

EMORY  
Er...well, that is...the gist of  
it, yes.

Harrison releases Emory and begins pacing aimlessly, holding  
his head in anguish.

HARRISON  
Why didn't you say anything before  
now?

EMORY  
(defensively)  
The case seemed open and shut.  
The demon would be vanquished, and  
my involvement would be totally  
unnecessary.

Harrison suddenly stops and turns to face Emory.

HARRISON  
Do you have the tape?

EMORY  
Ah...yes, it's right here...

Emory reaches into a fanny pack and pulls out a small  
cartridge; Harrison snatches it away and grabs him by the  
elbow.

HARRISON  
Come on, we have to find Miss  
Jones.

Harrison drags Emory back down the hallway.

FLIP CUT TO:

INT. A CONFERENCE ROOM

inside the courthouse, where Harrison, Emory and Alicia Jones  
are sitting around a table. In one corner of the room is a TV  
cart with a television and VCR.

JONES  
Mr. Dick, I can't begin to tell  
you how much easier this would  
have been if you had only come  
forward before.

She fits the camcorder cartridge into a VHS adapter, slides it  
into the machine, and turns the television on. From the TV  
comes the muted sounds of Emory and April.

EMORY  
You have my most humble and  
sincere apologies, Madam. The  
truth is, there are certain...  
activities...on there that might  
prove of embarrassment to the  
lovely Miss Tuna. And, possibly  
others as well.

JONES  
I assure you, Mr. Dick, I have  
been in this business for a long  
time, and I've seen enough human  
behavior that I'm not going to be  
shocked by anything—

She does a double-take at the screen.

JONES (CONT'D)  
—is that a rubber chicken?

EMORY  
(gesturing urgently)  
No, no—past that, past that!

HARRISON  
(hurriedly)  
Uh, maybe we should fast forward?

Jones nods and hits the fast-forward button on the remote in  
her hand. As the fast-motion images go by, Harrison winces a  
couple of times, and even Jones raises an eyebrow. After a  
few moments, though, Emory shouts.

EMORY  
(pointing)  
There!

Jones stops the tape and backs it up a bit, and they all lean  
in to watch.

INSERT: THE TELEVISION SCREEN

The picture is shaky, more or less centered on April and  
apparently shot by Emory as they were walking side-by-side.

APRIL  
—hope I look presentable. My  
previous record with these social  
encounters is...well, it's been a  
disaster!

EMORY (O.S.)  
My dear, you outshine the  
constellations in the sky.

APRIL  
Oh, stop...  
(pointing)  
Look!

The scene swings around to show a view of the Moonlight Cafe,  
from across the street. The camera steadies and zooms in on  
Brooke storming out towards the street, with Sam a few steps  
behind. At the screeching of tires, the scene swings again,  
picking up Nicole's car as it finishes its turn. The camera  
follows the car until it hits Brooke, sending her flying into  
the air and onto the street. For a few moments the picture  
stays mostly steady, showing Sam running over to Brooke's body  
and screaming for help; then it breaks up into an  
undecipherable display, apparently as Emory lets it go and it  
swings from a strap.

By the time Harrison and Emory recover from watching the  
gruesome scene, Jones has her cell phone out.

JONES  
(into the phone)  
It's me. Get hold of Judge  
Holmes' clerk. I need to see him  
and defense counsel in his  
chambers—now.

CUT TO:

INT. JUDGE HOLMES' CHAMBERS - LATER

Devenport and Jones are sitting before the judge's desk.

DEVENPORT  
You Honor, this is ludicrous! The  
People have rested their case!

JONES  
Exception clearly exists for newly  
discovered evidence.

JUDGE HOLMES  
She has a point, Mr. Devenport.

DEVENPORT  
Oh, please! A new witness  
conveniently steps forward NOW?  
(to Jones)  
I think his credibility is just a  
tad impeachable, don't you?

JONES  
I admit, the delay may have eroded  
the boy's credibility—but it  
doesn't affect the videotape.

JUDGE HOLMES  
(rifling through a legal volume)  
I believe the tape is pertinent  
enough to be allowed. I'll give  
the jury special instructions in  
the morning.

DEVENPORT  
I'll need time to prepare a cross  
for this witness.

JONES  
Don't bother—there won't be a  
witness to cross.

JUDGE HOLMES  
Excuse me?

JONES  
I'm not putting Emory Dick on the  
stand. I intend to introduce the  
tape res ipsa loquitur.

DEVENPORT  
Now, hold on just a second! Your  
Honor, if she's allowed to do  
that—I move for a mistrial.

JUDGE HOLMES  
(severely)  
Both of you, be quiet. I'll take  
both motions under advisement, and  
issue my rulings in the morning.  
(to Devenport)  
I warn you, Mr. Devenport, that if  
I grant your motion it will be  
without prejudice—in three months  
we'll do this all again, and in  
that case the tape WILL be in.

DEVENPORT  
(standing)  
Understood, Your Honor.

Jones gets up and the two lawyers walk to the door.

JUDGE HOLMES  
A moment, Ms. Jones.

Devenport walks out. Jones turns back to face the judge, who  
leans back and looks at her speculatively.

JUDGE HOLMES (CONT'D)  
You aren't pulling a fast one on  
me, are you, Alicia?

JONES  
(snorting)  
You really think if I'd had any  
idea this was out there, I  
would've held onto it this long?

JUDGE HOLMES  
(considering)  
Okay.

Jones nods and walks out.

CUT TO:

EST. THE INSTITUTE - NIGHT

CUT TO:

INT. THE LAB

Josh is hunched over a terminal, while Dr. Bennett is deeply  
involved with one of the new pieces of equipment.

BENNETT  
Hey, did you ever find out your  
wife's ring size?

JOSH  
Oh, yeah, I called one of our  
friends, and she found out for me.  
I already let Guido know.

BENNETT  
That's good. I hope she likes it.

Suddenly the machine clanks.

BENNETT (CONT'D)  
Dammit!

JOSH  
(looking up)  
What? Did I do something wrong?

BENNETT  
Oh—no, it's not you. It's not  
even this damn analyzer.  
(holding up a sheaf of papers)  
It's THIS. I've never seen runs  
like this before.

JOSH  
Is it bad?

BENNETT  
Could be.  
(pause)  
Sorry about the hours. I just  
don't think this can wait.

JOSH  
Hey, it's okay. It's not like my  
calendar is full.

BENNETT  
I need to check a couple of the  
remote monitoring stations. Hold  
down the fort for...twenty minutes  
or so?

JOSH  
Sure, no prob.

BENNETT  
I'll swing by Taco Bell on my way  
back and bring dinner.

JOSH  
Okay, great.

After Dr. Bennett leaves, Josh gets up, stretches, and  
saunters out.

CUT TO:

INT. THE INSTITUTE GARAGE - MOMENTS LATER

The garage is in semi-darkness, but a junction box on the wall  
is brightly illuminated by a flashlight. Jake Carlin and his  
two friends are gathered around the box; Jake is pulling fuses  
out and stomping on them. When the last one is out, he motion  
to the others.

JAKE  
Come on.

A few moments after they walk out, Josh pokes his head around  
the corner of some shelving. He comes out, steps over to the  
junction box, and picks up one of the smashed fuses, scowling.

CUT TO:

INT. THE LAB

Jake and his friends come through the doors; Jake struts  
around the lab, smirking.

JAKE  
Look at all the pretty new toys.

JAKE'S FRIEND  
I don't like this, man. We  
should've waited longer.

JAKE  
(threatening)  
Hey—this is MY show!

The doors fly open behind them, and Josh steps through.

JAKE (CONT'D)  
Well, look who decided to invite  
himself—

Without waiting for Jake to finish, Josh charges him. They  
both hit the floor, and Josh wrestles the bat away from Jake  
and comes up with it.

GUARD (O.S.)  
Freeze!

Everyone stops and turns to see one of the security guards  
standing in the doorway, gun drawn.

GUARD (CONT'D)  
(to Josh)  
Drop the bat!

Josh tosses the bat aside and spreads his hands.

JOSH  
Hey, it's me—Josh. I work here?  
They were gonna trash the place  
again.

JAKE  
Ha! Sure.  
(thumbing at Josh)  
HE let us in!

JOSH  
That's a lie!

GUARD  
All of you, stay put!

Without taking his eyes off of them, the guard reaches for and  
pulls up his radio.

GUARD (CONT'D)  
(into the radio)  
I got intruders. I need backup.

FADE OUT.

**END OF ACT THREE**


	5. Act Four

**ACT FOUR**

FADE IN:

INT. THE LAB - LATER

The guard is still holding his gun on Josh, Jake and his  
friends when Lt. Spivey comes in, followed in short order by  
two uniformed policemen and Dr. Rutherford.

LT. SPIVEY  
(to the guard)  
What's going on here?

GUARD  
I found these four here. That  
one—  
(points at Josh)  
—had a bat. Said he took it away  
from that one.  
(points at Jake)

JAKE  
(pointing at Josh)  
Look, he's behind this whole  
thing. He let us in both times.

JOSH  
Oh, come on!  
(to Lt. Spivey)  
I was trying to stop them!

Dr. Bennett bursts into the room.

BENNETT  
What's happening? Josh?

RUTHERFORD  
It seems we have a little problem.

JOSH  
Hey, you don't have to take my  
word for it. Check the security  
camera.

JAKE  
(sneering)  
The cameras are broken, doofus.

Josh matches Jake's sneer.

JOSH  
Not anymore, doofus.

One of the policemen walks over to a console and punches a  
couple of buttons.

POLICEMAN  
Hey, Lieutenant, you oughta see  
this.

Lt. Spivey and Dr. Rutherford both walk over to the console.

JOSH  
(to Dr. Bennett)  
I was stretching my legs, and I  
saw Jake here pulling the fuses  
out of the box again. So I  
plugged in some spares and—good  
as new.

Lt. Spivey looks up from the console and nods at Jake and his  
friends. The two officers advance on them with handcuffs.

JAKE  
(snarling)  
This isn't over, prep!

RUTHERFORD  
Oh, I think it's over, Mr. Carlin.  
Now that you're under arrest, the  
police will be able to see if your  
fingerprints match those from the  
vandalism last year. I would be  
greatly surprised if they don't.

Jake growls in reply.

RUTHERFORD (CONT'D)  
And I assure you, the Institute  
will press full charges against  
you and your companions.

One of the officers hands a card key to Lt. Spivey, who shows  
it to Dr. Rutherford.

LT. SPIVEY  
This look familiar?

RUTHERFORD  
(appraisingly)  
A blank card key... Mr. Carlin  
must have stolen it while he was  
working here, and had a duplicate  
key made.

LT. SPIVEY  
Well, that explains how he kept  
getting in.  
(to the policemen)  
Let's get 'em in the cars.

Lt. Spivey and the two policemen haul Jake and his friends  
away. The security guard holsters his gun.

GUARD  
(pointing at Josh)  
What about him?

RUTHERFORD  
Mr. Ford is an employee. No need  
to worry about him.

The guard nods and walks out. Dr. Rutherford approaches Josh.

RUTHERFORD (CONT'D)  
Well, Mr. Ford, it appears that I  
owe you a sizable apology. I  
regret having pre-judged you in  
the same mold as Mr. Carlin.

JOSH  
Uh, no, it's okay...I mean, I  
accept.

RUTHERFORD  
Perhaps some way can be found to  
make it up to you.

BENNETT  
Josh was telling me that he and  
his wife are registered to attend  
Cure the Bay next month.

RUTHERFORD  
Indeed? The Institute is rather  
heavily involved in that effort.  
I imagine you could be sent in an  
official capacity—all expenses  
paid, of course.

JOSH  
Well, I...thank you, Dr.  
Rutherford!

RUTHERFORD  
Perhaps afterward the two of you  
would join my wife and I for  
dinner?

JOSH  
I'm sure we'd love that, Sir.

RUTHERFORD  
Well, it's settled, then. And  
now, I think we all deserve some  
rest.

BENNETT  
I'm afraid I have to overrule you  
there. I just got back from  
checking Eight and Twelve.

She hands a bunch of printout to Rutherford, who goes through  
it quickly.

RUTHERFORD  
Yes...I see...

BENNETT  
Sorry, Josh, it looks like another  
long night of number-crunching.

JOSH  
Oh, hey, it's okay... Anything I  
can do to help.

RUTHERFORD  
(looking up)  
Well, I now see that your hands  
are quite capable, Mr. Ford.  
Carry on, then.

BENNETT  
Good night, Dr. Rutherford.

After Rutherford leaves, Dr. Bennett runs over and hugs Josh.

BENNETT (CONT'D)  
You did it!

JOSH  
(a bit stunned)  
Yeah...I did. I mean...it was all  
just instinct.

BENNETT  
You have good instincts, then.

JOSH  
I guess... Wait 'til I tell  
Lily.

Dr. Bennett disengages herself, a bit awkwardly.

BENNETT  
When we have a spare moment, we'll  
have to celebrate. But right  
now—

She hands him the printouts.

JOSH  
Right. Work.

FADE TO:

EST. L.A. SKYLINE - MORNING

CUT TO:

INT. JOSH AND LILY'S LIVING ROOM

Lily and Mary Cherry are in bikinis and sunglasses, stretched  
out on deck chairs under bright tanning lamps, drinks in hand.

MARY CHERRY  
My mama always said, nothin' beats  
margaritas in the morning.

LILY  
I have to hand it to you, Mary  
Cherry—you do know how to relax.

MARY CHERRY  
Well, it takes years and years of  
practice to learn how to properly  
do nothin'. But you have lots of  
potential, Lil Lily.

LILY  
Hey, where'd all this stuff come  
from, anyway?

MARY CHERRY  
Home.

LILY  
(looking over)  
Won't your mother be upset that  
you took it?

MARY CHERRY  
(scoffing)  
Oh, all this junk is out of the  
East Wing. The only people who  
ever step foot in there are the  
servants, and I—  
(rubs her fingers together)  
—have an arrangement with them.

LILY  
Wait a minute... I thought you  
didn't have any money.

MARY CHERRY  
Well, I don't.

LILY  
But, if you don't have any more  
money to bribe the servants with,  
then...

The front door bursts open and an ear-piercing whine fills the  
room. The girls look up to see Cherry Cherry standing in the  
doorway, whistle in her mouth.

CHERRY CHERRY  
THIEF!

EFFECT CUT TO:

INT. JOSH AND LILY'S LIVING ROOM - LATER

Workers carting out the last of Cherry Cherry's purloined  
things.

MARY CHERRY  
But, Mama! What am I to do?

Cherry Cherry eyes her as if she were a bug.

CHERRY CHERRY  
Frankly, my dear—

LILY  
(breaking in)  
Oh, please—don't say it.

CHERRY CHERRY  
Well, I don't!  
(to Mary Cherry)  
As long as you don't do it with my  
money, or any of my things!

With that, she reaches out, rips Mary Cherry's necklace off,  
and storms out. Lily and Mary Cherry wind up sitting side by  
side on the floor, chins in hand.

LILY  
Well, it was fun while it lasted.

MARY CHERRY  
(panicked)  
You don't understand, Lily! I  
can't live like this! I tried  
bein' poor—I was no good at it!

LILY  
Yeah, I remember.

MARY CHERRY  
And, this isn't just for a couple  
of days! What—what if I'm doomed  
to grow up poor?  
(gasps)  
Or worse—MIDDLE CLASS?

LILY  
I think you're gonna have to work  
your way up to middle class, Mary  
Cherry.

Mary Cherry starts bawling loudly. Lily awkwardly tries to  
pat her shoulder reassuringly.

LILY (CONT'D)  
We'll figure something out.  
(long pause)  
Look, I'm going to call Josh. Are  
you okay?

Mary Cherry nods, sniffling. Lily gets up off of the floor  
and walks across the empty room to the phone. She picks it up  
and dials.

INTERCUT WITH:

INT. THE LAB

After a couple of rings, Rodriguez picks up the phone.

RODRIGUEZ  
'Lo?

LILY  
(surprised)  
Oh, uh, is Josh there, please?

RODRIGUEZ  
(looking around)  
Sorry, they aren't in yet. I hear  
they had a late night last night.

LILY  
Uh—

RODRIGUEZ  
Oh, hey, are you from the jewelry  
place? I got a message: Just  
have the ring delivered to Josh  
Ford, or Tina Bennett. It's the  
same address.

LILY  
(confused)  
Um...no...I'm not from the jewelry  
place.

RODRIGUEZ  
(embarrassed)  
Oh! Sorry. Do YOU want to leave  
a message, then.

LILY  
Uh, no. No message.

She hangs up the phone, and stares numbly at it.

CUT TO:

EST. THE COURTHOUSE

CUT TO:

INT. CONFERENCE ROOM

Jones is sitting across from Devenport and Nicole.

DEVENPORT  
All right—do you mind telling us  
why we're here?

JONES  
I'm going to get the tape in. I  
know it, and you know it.

DEVENPORT  
Look, even if you do get the tape  
in—what does it prove? We've  
stipulated that the event  
happened. Your tape isn't going  
to show intent any more than any  
of your witnesses have.

JONES  
Oh, I could have experts testify  
that your client's car accelerated  
AFTER it turned the corner. I  
could do that—but I really don't  
have to.

She flicks on the television and starts the tape. As Nicole's  
car roars down the street, she puts the VCR into slow-motion,  
and finally freezes on a single frame.

JONES (CONT'D)  
All I really have to do is show  
them THAT.

Devenport peers at the screen. The shot is almost a perfect  
profile of Nicole, hunched over the wheel, a Cheshire cat grin  
lighting her face. Nicole cocks her head as she looks at the  
picture.

NICOLE  
(curiously)  
Is that me?

JONES  
I'm thinking intent isn't really  
an issue at this point.

Devenport leans back and thinks for a few moments.

DEVENPORT  
What are you offering?

JONES  
Felonious vehicular assault, plus  
intent, plus felony DUI. And she  
does the max—eighteen to twenty  
five.

DEVENPORT  
Oh, I don't think so.

She picks up a paper in front of her.

JONES  
No? You get your mistrial, I re-  
file as attempted murder one, with  
the one-strike option. Twenty  
five to life. What—  
(nods to the screen)  
—you think I can't sell that to a  
jury?

DEVENPORT  
Drop the intent to cause great  
bodily harm.

JONES  
(considering)  
I'll drop the DUI, and recommend  
no position on parole. Fourteen  
to twenty. She plays her cards  
right, she could be out in seven  
and a half years.

Nicole eyes her warily.

JOSH  
That's as low as I'm going, Ms.  
Julian. Do we have a deal—or do  
I go swinging for the fences?

Devenport leans over and whispers in Nicole's ear; she makes a  
face at him, and nods once.

DEVENPORT  
Deal.

FLIP CUT TO:

INT. COURTROOM - LATER

JUDGE HOLMES  
...having entered a plea of guilty  
to the charge of felonious  
vehicular assault with intent to  
cause great bodily harm, and in  
accordance with the agreement  
reached with the People, I hereby  
sentence you to the custody of the  
California Department of  
Corrections, for a period of time  
of not less than fourteen, nor  
more than twenty years.  
(bangs his gavel)  
This court stands adjourned.

Before the bailiff can approach, Nicole takes Devenport's  
legal pad, scribbles on it, tears off the top sheet and hands  
it to him. As the bailiff puts handcuffs on her, Nicole  
smirks at Sam, who, along with Mike, have been watching from  
directly behind her.

NICOLE  
Well, it looks like you won after  
all, Spam. Congratulations.

Sam just glares at her back as the bailiff leads her away.

CUT TO:

INT. COURTHOUSE HALLWAY - MOMENTS LATER

The doors open, and people begin to stream out, Sam and Mike  
first among them. They walk down the hallway together; not  
jubilant, but subdued.

SAM  
Somehow...I thought this would  
feel better.

MIKE  
Yeah. Me too.

There is a long, awkward silence as they continue down the  
hallway.

MIKE (CONT'D)  
I'm heading over to see Brooke.  
Coming?

SAM  
Of course.

MIKE  
At least this is all over. Now we  
can concentrate on helping Brooke  
recover.

SAM  
And breaking her of that awful  
habit.

MIKE  
Habit?

SAM  
Crossword puzzles.

MIKE  
(chuckles)  
Sam...it can't be that bad.

SAM  
You have no idea. I swear to God,  
if she's still spouting clues when  
she comes home, I'm gonna want my  
own place.

Mike laughs as they step into the elevator.

SAM (CONT'D)  
I'm serious! Wait til she asks  
YOU what the longest river in  
Ecuador is—you'll see...

The elevator doors close.

CUT TO:

INT. BROOKE'S HOSPITAL ROOM - LATER

Brooke is alone when Devenport walks in.

DEVENPORT  
Miss McQueen?

BROOKE  
(looking up)  
Yes?

He advances to the side of the bed and holds out his hand;  
which Brooke shakes.

DEVENPORT  
I'm sorry, we've never actually  
met. I'm Michael Devenport.  
I'm—I was Nicole Julian's  
attorney.

BROOKE  
Oh.

DEVENPORT  
I'm sorry for disturbing you,  
but—

He reaches into his suit and pulls out a folded piece of  
paper.

DEVENPORT (CONT'D)  
She wanted me to give this to you.

Brooke takes the paper shakily.

DEVENPORT (CONT'D)  
I...hope you get well soon, Miss  
McQueen.

With that, Devenport turns and hurries away, while Brooke  
unfolds the paper.

INSERT: THE PAPER

Scrawled on the yellow page is:

B.

I'm sorry.

Nicole

Shaking her head, Brooke wads up the paper and tosses it  
across the room, where it ricochets neatly into the  
wastebasket. Then, sniffing, she curls up and pulls the  
covers up to her chin.

DISSOLVE TO:

INT. BROOKE'S HOSPITAL ROOM - EVENING

Mike, Sam and Harrison are all sitting around the bed, talking  
and laughing.

HARRISON  
...no, I swear, not only am I not  
going to tell you, but I am going  
to spend the rest of my life  
trying to forget what I saw on  
that tape!

SAM  
(nudging him)  
Aw, it couldn't be THAT bad!

HARRISON  
Believe me, I think I'm  
permanently traumatized. I will  
definitely never look at a rubber  
chicken the same way again!

Amid another uproar of laughter, a nurse walks in.

SAM  
(guiltily)  
Uh-oh.

NURSE  
All right, I think the patient  
needs a little break.

BROOKE  
(laughing)  
The patient definitely needs a  
little break.  
(to Mike)  
Dad, take these two out for pizza  
or something.

MIKE  
(salutes)  
Yes, Ma'am.

Mike gets up and kisses Brooke on her forehead.

MIKE (CONT'D)  
I'll see you later, honey.

Mike, Sam and Harrison file out of the room, leaving the nurse  
to tidy up around the bed. After sweeping up, she picks up  
the wastebasket and starts to leave.

BROOKE  
(holding out her hand)  
Excuse me? Can I see that for a  
second?

The nurse brings the wastebasket over to Brooke's side; she  
reaches in and fishes out the crumpled note from Nicole.

BROOKE (CONT'D)  
Thanks.

As the nurse leaves, Brooke smooths the note out on her tray  
table. After a few moments, she folds it neatly into quarters  
again, and tucks it away into a nearby book before leaning  
back in bed and staring at the ceiling in quiet contemplation.

FADE TO BLACK.

**END OF ACT FOUR**

**THE END**


End file.
